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Film: Das Experiment
Release date: 4th May 2009
Certificate: 18
Running time: 114 mins
Director: Oliver Hirschbiegel
Starring: Moritz Bleibtreu, Christian Berkel, Oliver Stokowski, Wotan Wilke Möhring, Stephan Szasz
Genre: Drama/Thriller
Studio: In2Film
Format: DVD
Country: Germany
Oliver Hirschbiegels’ debut film, Das Experiment, caused a sensation on its release in 2001. Based on Mario Giordano’s book Black Box, the story draws its influence from the infamous Stanford Prison Experiment. The film gives a chilling account of the susceptibility of ordinary people to violence and corruption.
Since losing his job as a journalist, Tarek Fahd (Moritz Bleibtreu) has become a taxi driver. When he finds an advert in a newspaper offering 4000 Marks to participate in an experiment in a simulated prison, he uses the opportunity to write an undercover exposé of the experiment for his former boss.
A car crash on the way home from work unexpectedly brings Dora (Maren Eggert) into his life. When Tarek offers to take her home, the two spend the night together. Despite their instant attraction for each other they part ways - Dora to her house in Canada, Tarek to the lab.
Upon arrival at the simulated prison, Tarek meets the men he will spend the next two weeks with. Amiable and relaxed, they are all normal people from different backgrounds, with unremarkable jobs ranging from a chief executive to a school teacher. The scientists, Dr Thon (Edgar Selge) and Dr Grimm (Andrea Sawatzki), inform them they will be randomly separated into two groups: guards and prisoners. The guards must exercise total control over the prisoners but are prohibited from using violence, despite being provided with truncheons and hand cuffs. The prisoners are stripped of all their clothes, which are replaced with smocks, and they are assigned numbers before being taken to their cells where they are confined for the duration of the experiment.
The initial camaraderie among the men is quickly replaced with paranoia and hostility as the two groups struggle for dominance. The lines between reality and their own fictitious roles become blurred beyond distinction as the film reaches its shocking conclusion…
Despite its harrowing and unyielding nature, Das Experiment is a profoundly brave and challenging film. A number of the punishments inflicted on the prisoners – such as being locked in solitary confinement and being stripped naked - were actually performed by college students in the real Stanford Prison Experiment which took place in 1971 in America. The more extreme violence that appears towards the end did not actually occur in Philip Zimbardo’s experiment. Rather, Das Experiment is a representation of what could have happened if it had lasted the full two weeks. In actuality, psychologists terminated the experiment in just six days after the students began to show signs of depression and disturbed behaviour. The film should not therefore be seen as a factual account of the events that took place at the Californian University (a mistake which is often made) but as a much more complex tale about human nature.
Unlike many filmmakers, Oliver Hirschbiegel rejects the redundant approach of portraying characters as ‘good’ or ‘bad’ and leaves the audience to determine the answers for themselves. He faced harsh criticism after the release of Downfall – about Hitler’s last days in his bunker - which also refused to depict its major characters as two dimensional or simply evil. Hirschbiegels’ unflinching ability to shine a light in dark places by showing the reality of people who commit horrific acts is what makes him unique. A poignant link to Nazism it blatant from the outset, at one point Schütte (Oliver Stokowski) accuses Berus (Justus von Dohnányi) of being a Nazi pig. The speed at which the guards adapt to treating the prisoners as the enemy also suggests a parallel. But the director’s goal is not to demonise Germans. Rather he is intent on communicating a universal susceptibility human beings have of losing their moral judgment. Confronting the truth head on without self deception is the only way to safeguard against atrocity.
It’s not all bleak, however. The love scenes between Dora and Tarek are genuinely beautiful - their sensual tenderness, which appears in flashbacks, the only comfort to Tarek when he’s locked in his cell. Some scenes, where they appear to each other in dreams and visions, while Tarek is confined, are only made plausible by the actors on-screen chemistry, and might otherwise look like devices to move the plot along. Tarek and Schütte’s relationship is equally moving - Stokowski’s performance is positively heart-warming.
What stands out most in this film is the subtle little hints into the characters’ personality, flaws and insecurities that are inconspicuous in their everyday lives, but become inflated and dangerous in the setting of the prison: Eckert (Timo Dierkes) letches on Dr Grimm and later tries to rape her; whilst guards laugh at Berus’s body odour, taunts later repeated by Tarek which results in Berus dragging him from his cell and urinating on him, mockingly asking him, “Now who smells?”
There is not a great deal of music in the film, however the Linkin Park track ‘One Step Closer’ played at the beginning sounds very misplaced as a sort of inelegant attempt to foreshadow the coming tensions. The swelling emotive music in the last scene somehow detracts from the utter devastation - the closing moments would have been much more poignant if they had been silent. These, though, are small imperfections in what is a well crafted film.
Thought provoking and utterly engaging, Das Experiment dextrously sweeps between moving, terrifying, life affirming and back again. Essential viewing for all film lovers. JMA
Film: The Serpent
Release date: 29th September 2008
Certificate: 15
Running time: 119 mins
Director: Eric Barbier
Starring: Yvan Attal, Clovis Cornillac, Olga Kurylenko, Pierre Richard , Simon Abkarian
Genre: Thriller
Studio: In2Film
Format: DVD
Country: France
In the mould of Tell No One, and more recently Anything for Her, The Serpent is a tense French thriller based on the novel Plender by Get Carter scribe Ted Lewis. The film follows an ordinary individual thrust into extraordinary circumstances in a brutal tale of honour, revenge and personal courage.
The film begins with Vincent (Yvan Attal) going through a difficult divorce and a custody battle for the right to see his children. At work, he is met by a last minute replacement for a lingerie shoot by a stunningly beautiful, but emotionally fragile girl named Sofia (Olga Kurylenko). The two connect, but the following day Vincent is accused of rape. He meets Sophia again, although a terrifying accident complicates Vincent’s position further.
He then meets Joseph Plender, an old classmate from school. Plender plays the affectionate fool at first, but it soon becomes clear he is not all he seems. Haunted by events from his past, Plender is seeking vengeance on those who wronged him or his now-deceased mother. This includes Vincent, who unwittingly subjected Plender to a horrendous ordeal when a childhood prank went wrong. Plender, using Sofia to seduce his targets, is blackmailing and systematically destroying them; that is, until Vincent fights back.
On the run from the law, and desperate to protect his family, Vincent’s only hope is to confront Plender with his own twisted mind games…
Part of a wave of modern French thrillers, The Serpent is a tense, psychological tale where Barbier has brilliantly transferred Ted Lewis’ British story to a French setting. The confident direction superbly captures the cold, stark environments for maximum visual impact and atmosphere.
Although unconventional, the music by Renaud Barbier perfectly compliments the dark subject matter, heightening the tension in the story by using sparse, piano-driven melodies, and incorporating unusual sounds to create an unsettling feel. For example, one sound appeared to resemble shattering glass, which reflected Vincent’s world breaking apart around him.
The performances are excellent, supported by a strong script. Clovis Cornillac is a terrifying screen presence. Imposing and sinister, he turns Plender into a brutally efficient psychopath, but still allows for moments of sympathy and pity for the torment his character has suffered. Barbier’s direction adds to the portrayal, allowing us to see his eyes at certain emotive moments, while at others lighting him from above so his face and eyes are shadowed, to intimidating effect.
As with Francois Cluzet in Tell No One, Yvan Attal plays the honest everyman brilliantly, and is the film’s greatest feature. His character’s growing desperation and resolve to fight back are translated through a powerful performance, while the reality of his emotional journey and his conviction mean the film’s brief moment of fantastical action does not upset its tone, and remains grounded in a believable reality. Some of the best scenes in the film, however, are when Attal shares the screen with veteran actor Pierre Richard, who plays one of Plender’s other victims, while Simon Abkarian also provides strong support as Vincent’s lawyer.
Olga Kurylenko, known to most audiences for her role in the James Bond film Quantum Of Solace, is magnificent in bringing emotional depth and fragility to her character, despite the limited screen time. Her character’s past and personality could have been elaborated on to great interest, but this may have distracted from the central storyline. Nonetheless, she is a wonderful presence, and her performance, like Attal’s, allows for the action to retain a sense of reality that another performer may not have transferred.
The Special Features that accompany the DVD include a trailer and a half-hour ‘making of’ documentary. The latter is of only passing interest, as most of the running time is made up of clips from the film. Far better are three short interviews, with Kurylenko and director Barbier giving some interesting insights into the filming process and their intentions.
While the film does not reach the cinematic heights of Tell No One, The Serpent is nonetheless a compelling watch. An excellent cast, director and script unite to create a suspenseful psychological thriller that maintains it tension and emotion throughout. CD
Film: Heart Of Fire
Release date: 11th October 2010
Certificate: 12
Running time: 94 mins
Director: Luigi Falorni
Starring: Letekidan Micael, Solomie Micael, Seble Tilahun, Daniel Seyoum, Mekdes Wegene
Genre: Drama/War
Studio: In2Film
Format: DVD
Country: Germany/Italy/Austria/France
When a 10-year-old old girl has to ask her sister: “What’s your name?” you know you’re not watching a cheery family drama. Heart Of Fire is an African coming of age journey set in war-torn Eritrea. Based on the memoirs of singer Senait G Menhari, this cinematically stunning piece of film showcases East Africa’s beautiful charm without forgetting the trauma suffered by its inhabitants.
Letekidan Micael plays Amet, a charismatic young girl brought up by nuns in a cloister of abandoned children. She struggles to get along with her peers and harbours a questioning curiosity that sets her apart. The one thing that she doesn’t question is her belief that her father must be battling Ethiopian soldiers to secure his country’s freedom: a dream just waiting to be shattered.
Sure enough, her fantasy is ruined when her sister inexplicably materialises to take her back to their family. ‘Home’ would be the wrong term - dirty, crowded and hostile; it is an intimidating place of toil and poverty. Her father is a devious character whose motives remain dubious. Hiding behind a flimsy mask of patriotism, he soon shifts the burden of his daughters by taking full advantage of the Jebha freedom fighters.
Shipped out to the self-proclaimed socialist army, Amet is faced with another new environment. She grapples with the teenaged authorities for their respect, and her tenacity pays off when she finally finds acceptance. Much to viewers’ relief, the reality of the child-exploiting Jebha (which is adamantly denied by Eritrean authorities) dawns on her, as she realises that her own identity is actually much more worthy than this aggressive, adolescent legion…
Excitement, anxiety and disappointment are all captured faultlessly in this pleasantly paced film. There is no chaotic whirlwind of tension, but a steady narrative that meanders through a gentle stream of emotion. Amet is given room to grow; the seed of responsibility sowed by her unsettled past, and she develops into a character who is older and wiser than her years.
The plot is basic, but that is perfectly acceptable: what isn‘t is the sloppy conclusion. Treated like a quick debrief, it feels hurried and false. Despite being inspired by Menhari’s biography, it lacks credibility and leaves the viewer dissatisfied. Although never a particularly challenging film, it is unfortunately let down by such a weak finale.
The story’s very simplicity does, however, works in Felorni’s favour. He is able to utilise his extraordinary cast, which comprises of actors who don’t just win viewers’ empathy, but manage to bond with them. Amet engages the audience from the start, her voice over setting the scene, and telling listeners what they need to know; her openness makes her an instantly accessible portal into Eritrea.
This connection is further enhanced by footage of romantic landscapes cleverly scattered throughout. Viewers want to be there alongside Amet in that earthy, exotic land. Of course, we’ve seen it all before, in photographs and on television and, in all honesty, there is nothing original about the images Felorni uses. Some might even go so far as to call it clichéd, but it would be sad to let this cynicism come between film and viewer. Likewise, the soundtrack is typically African to the outsider, but there is something undeniably pleasing in the tribal horns and enigmatic singing. Visually and aurally, Heart Of Fire might be one big stereotype, but it rapidly absorbs the viewer.
Strikingly equipped to suit mainstream audiences, Heart Of Fire can potentially lead the way for spreading world cinema westward. An endearing little girl with a troubled past, a straightforward storyline and strong script essentially give commercial film fans what they want. Those plagiarised portraits of East Africa offer security and familiarity which Western egos will find reassuring and flattering.
For those who can look past the traps of predictability that Felorni falls into, Heart Of Fire is a poignant film. A commendable collection of characters embellish the narrative, provoking genuine sympathy within viewers. In Letekidan, a true talent has been unearthed, and the budding child star is set to shine through the shadow of Hollywood to put Africa on the movie map. RS
War drama starring Mira Sorvino and Gabriel Byrne.
At the height of World War II, English journalist Kate Davis (Sorvino) becomes trapped within the besieged city of Leningrad.
Separated from her lover, writer Philip Parker (Byrne), and presumed dead, Kate is rescued by Nina Tsvetkova (Olga Sutulova), a female member of the Leningrad militia.
Joining forces with a makeshift band of survivors in the famished city, the two women battle to stay alive throughout the devastating 800-day siege.
Film: Attack On Leningrad
Release date: 8th November 2010
Certificate: 15
Running time: 146 mins
Director: Aleksandr Buravsky
Starring: Gabriel Byrne, Mira Sorvino, Aleksandr Abdulov, Vladimir Ilyin, Mikhail Efremov
Genre: Drama/War
Studio: In2Film
Format: DVD
Country: Russia/UK
French romantic thriller starring Vincent Lindon and Diane Kruger as Julien and Lisa, a happily married couple with a young son, Oscar (Lancelot Roch).
Their lives are suddenly thrown into disarray when Lisa is charged with murder, seemingly out of the blue, and sentenced to twenty years behind bars.
Convinced of his wife's innocence, Julien decides to act - but exactly how far will he be willing to go for the woman he loves?
Film: Anything For Her
Release date: 11th October 2010
Certificate: 15
Running time: 92 mins
Director: Fred Cavaye
Starring: Olivier Perrier, Vincent Lindon, Diane Kruger, Lancelot Roch, Remi Martin
Genre: Crime/Drama/Romance/Thriller
Studio: In2Film
Format: DVD
Country: France
Film: The Admiral
Release date: 14th June 2010
Certificate: 15
Running time: 99 mins
Director: Andrei Kravchuk
Starring: Konstantin Khabensky, Elizaveta Boyarskaya, Vladislav Vetrov, Sergei Bezrukov, Richard Bohringer
Genre: War/Drama/History/Romance
Studio: In2Film
Format: DVD
Country: Russia
When the Tsar took Russia into the First World War against Germany, he had no way of foreseeing the terrible events that would unfold, and the men and monsters that would be unleashed upon his country. When the revolution strikes, Russia is thrown into chaos as the Communists fight for power, but in the East a movement has arisen. The Whites to fight the Reds. They are led by a national hero, Admiral Kolchak - the Supreme Leader of Russia.
In late 1916, Admiral Kolchak is in charge of a mine laying ship in the Baltic Sea when a German ship – the Karl Friedrich arrives on the horizon. The Friedrich is many times more powerful than Kolchak's ship, and practically blows her to pieces. Kolchak, with most of his crew dead or wounded, personally fires a direct hit on the enemy battleship and then succeeds in luring her into the mines Kolchak has just laid. An almost suicidal strategy, but one that succeeds. The Friedrich is beaten.
At the subsequent celebrations, Kolchak meets Anna Timirev, the wife of his second-in-command, Sergey Timirev. Kolchak and Anna fall in love immediately, but Kolchak chooses for them to be separate to avoid further pain to their spouses. Even so, they write often. Sergey eventually asks to be transferred to avoid further humiliation.
The Tsar promotes Kolchak to Vice Admiral, commanding the Baltic fleet, but the Tsar is soon deposed. The sailors of the fleet revolt and the officers of Sergey's ship are executed, Sergey manages to escape, and he and Anna flee to the East. Kolchak's ship also revolts, but Kolchak avoids bloodshed by surrendering power. The provisional government sends him into exile in America.
Kolchak soon returns, gaining a power base in Irkutsk, Siberia. He takes command of the resistance. The Siberian “White” government opposing communism and fights his way west using trains to take his army across the icy landscape. Anna hears of his return and travels to meet him, but on seeing him give a speech, she becomes a nurse, and follows the army anonymously so that she does not distract him from his destiny.
As the army pushes towards Omsk, their base in Irkutsk is threatened. Kolchak makes the decision to retreat in order to consolidate his strength, but the railway workers on which he is dependent are beginning to revolt. As his train makes the dangerous journey back East, Kolchak finds Anna and they are finally able to be in love in the last few days until the train is finally stopped. Kolchak, Supreme Leader of Russia, is executed…
The Admiral is a film that wants to be Dr Zhivago. An epic love story stretching across the Russian Revolution. Unfortunately, it comes across as an empty story devoid of emotion and devoid of context.
Kolchak is one of the major figures of Russian history, but by the end we are none the wiser as to who Kolchak is. His achievements are treated strangely, the fight with the Karl Friedrich at the beginning is pretty much pure cinematic fiction, and Kolchak's achievements as an explorer are ignored. His exile, return and installation as Supreme Leader of Russia all occur off-screen, and his final campaign is treated without context. Why does Kolchak oppose communism? Was he a royalist? A friend of the Tsar? An anti-communist? Or simply exploiting an opportunity? Worse still, the allegations that Kolchak presided over massacres and mass torture in a brutal military dictatorship are completely ignored. This is available in further reading, but in the context of the film not only does it leaves our ‘hero’ without life, without reason for anything he is seen to do, but at best it betrays the man, and at worst, deliberately misinforms.
The film tries to focus on the love story between Kolchak and Anna, but without knowing Kolchak, or indeed Anna, beyond the fact that they both look beautiful, we cannot understand what attracts them to each other. The ‘love story’ is completely empty, devoid of reason, the history a hotch potch at best. Kolchak and Anna spend the entire film whispering sweet nothings about how much they love each other, but at no point does the film show why.
This lack of emotional understanding by the director extends beyond the basic story. Kolchak and Anna's spouses are treated equally badly. After establishing that Kolchak is married and has a son, and that they are upset about his adultery, they are given almost no screen time, and are completely absent from the final third of the film. Sergey gains a little more exposition, but also disappears from view once Anna leaves him. Kravchuk is only interested in his two principals, but this hamstrings the whole film.
Several battle scenes in the second half, choreographed with skill and looking good, are also pointless as we have no reference to the men fighting the battles, only their high command, which is Kolchak looking stern and severe in a train carriage. The cast and two leads give us their best, but without the backing of script or director, their efforts are in vain.
It is impossible to deny, however, that the film looks good. The CGI is used sparingly and effectively, with the Karl Friedrich, in particular, positively terrifying. The costumes are sumptuous, the cinematography bewitches at every turn. If only this was all that were required to make a film. For a historical epic, it's a sadly wasted opportunity.
A pretty film hides an emotionally empty story, all the sadder for it being true, and therefore a failure to show the reality and events of the time. The longer it goes on, losing context and character development as it goes, the more soft focus it becomes. Until, by the end, you're not sure why you cared. A folly. PE
From the producer of the acclaimed The Page Turner comes "a riveting, nail-biting journey into the obsession and jealousy."
Divorced mother Elsa Valentin’s (Catherine Frot) life is fraught with tension, fighting for her son in a bitter custody battle and juggling a demanding job. But nothing can prepare for what happens when she crosses paths with Lola, a young girl whom she believes to be the daughter she lost in a hospital fire over six years ago.
Unable to let go of the desperate hope that her daughter might still be alive, Elsa begins to ingratiate herself with Lola’s own mother Claire (Sandrine Bonnaire), inching her way into Lola’s life.
At the expense of her own increasingly distraught family, Elsa’s obsession heightens and her behaviour turns increasingly disturbing. But how far will she go for what only she believes is the unsettling truth?
Based on an incredible true story.
Film: Angel Of Mine
Release date: 13th September 2010
Certificate: 15
Running time: 91 mins
Director: Safy Nebbou
Starring: Catherine Frot, Sandrine Bonnaire, Wladimir Yordanoff, Antoine Chappey, Michel Aumont
Genre: Drama/Thriller
Studio: In2Film
Format: DVD
Country: France
Film: Battle Of Wits
Release date: 18th January 2010
Certificate: 15
Running time: 133 mins
Director: Jacob Cheung
Starring: Andy Lau, Ahn Sungki, Wang Zhi Wen
Genre: Action/Drama/War
Studio: In2Film
Format: DVD
Country: China
The complexities of war are examined in Battle Of Wits, a period action drama set during China's infamous Warring States Period. A little research shows that, during that particular era (circa 470 to 220 BC), China was split into many states, each attempting to usurp power from and conquer each other. Unification would eventually arrive in the guise of Qin Shi Huang, China’s first Emperor, and a man whose story was wonderfully stylised in Zhang Yimou's hugely celebrated film Hero. While the films may share common settings and historical backgrounds though, the similarities end there. Hero was a shiny, stylised kung fu superhero movie, whereas Battle Of Wits is a much more down to earth and gritty proposition.
The story takes place during 370 BC, in the city-state of Liang, a small entity which finds itself under threat from the much larger kingdom of Zhao. Liang’s defence consists of a comparative handful of soldiers as opposed to Zhao's army, which is fast-approaching thousands and led by revered General Xiang Yanzhang (played by Ahn Sung-Ki). Liang has an ace up its sleeve, however: an undertaking from the Mozi to send help.
The Mozi people are followers of Mohism, a Chinese philosophy that encourages a form of ‘universal love’ and moral righteousness, preaching against offensive acts and personal extravagance (or capitalism. as we now know it). As such, it is surprising that the Mozi decide to help Liang's selfish and drunken King (Wang Zhiwen). But Mozi help does arrive, in the decidedly Jedi-esque form of Ge Li (Andy Lau), who shows up alone at Liang’s gates. He's just one man, but one thing we know from cinema is never to underestimate one man in a cape and hood. Within minutes, he's convinced Liang's citizens to fight back, if only to protect their lives from certain subjugation and cruelty at Zhao's hands.
Being a devout pacifist (and yet a master strategist), Ge Li obviously cannot follow the usual high kicking, sword wielding path to victory over Zhao. Instead he must focus on teaching the citizenry of Liang how to defend themselves. Some people, including Liang's Royal Tutor (Wu Ma) and Prince Liang Shi (Choi Si-Won), are (sensibly) initially suspicious of their would-be saviour, as he asks for complete control of Liang's army and total obedience in order to carry off his plan. What he doesn't want is any payment, or comfort - he won't accept gifts and opts to sleep in the stables. Like all great heroes, it seems that doing good is his reward.
While everyone agrees to this proposal, he's initially distrusted by some of the populace, but before too long they're devoted followers. Among those he carries in thrall are chief archer Zi Yuan (Nicky Wu) and cavalry chief Yi Yue (Fan Bing-Bing), who starts to develop a romantic interest in Ge Li. Even Xiang Yanzhang soon grows to respect him, because on the battlefield Ge Li is untouchable. His skills and strategy ensure the safety of Liang and a lifetime of hero worship. However, Ge Li's popularity earns him a very powerful enemy: the King of Liang himself...
Battle Of Wits is essentially a story with two distinct halves. The first portion of the film depicts Ge Li's arrival, rising influence, and initial clashes and skirmishes with Xiang Yanzhang's army. We get the impression that we are watching a clever, insightful action/war movie - one that may get us thinking. The battle scenes, too, are a change from the usual high flying pageantry we’ve become so used to. The fight scenes are dirty, nasty and a simple combination of skin and steel. While the action can be hard to follow, and the CGI isn’t always of the highest calibre, it appears to strike a refreshing chord for those who may just be little bit jaded with the flying warriors formula.
All this good work is soon undone though as the film reaches its second half. Andy Lau is a fine performer, but his attempts at humility just do not work. He manages to prostrate himself in a way that makes the grandest posturing of the most arrogant rock star seem even keeled. When this is coupled with the upright morality the film overly espouses - anyone who doesn’t openly embrace Ge Li’s ‘universal love’ concept is soon shown to be greedy and a coward. His black-and-white world view is unreal, and, in the context of what had seemed like such a grounded action movie, it is particularly jarring.
As the story continues, the film presents many ethical and philosophical questions. We are asked to consider the ethical treatment of P.O.W.’s, whether all is, in fact, fair in war time, and can the notion of ‘universal love’ work among a varied and non indoctrinated population? Unfortunately, none of these questions are ever really explored to any great depth, leaving the film stranded somewhere between gritty epic and badly thought out message movie.
Battle Of Wits is a decent film - nothing more. It will never be a milestone in the industry, or indeed the genre, but there is enough here to entertain us. Where it falls down is in not quite being one thing or another. Early promise and potential are squandered in the second half of the film. There are good ideas here; it just seems that Jacob Cheung wasn’t the right man to explore them. PD
Film: Them
Release date: 25th August 2008
Certificate: 18
Running time: 73 mins
Director: David Moreau & Xavier Palud
Starring: Olivia Bonamy, Michaël Cohen, Adriana Mocca, Maria Roman, Camelia Maxim
Genre: Horror/Mystery/Thriller
Studio: In2Film
Format: DVD
Country: France/Romania
Them continues in the tradition of the recent wave of intense French horror that has included films such as Switchblade Romance and the excellent, if controversial Martyrs. All three films are intense and graphic in a manner that is rarely seen in mainstream popular cinema, and all three share a similar sense of realism, making them all the more disturbing. Unlike Switchblade and Martyrs, however, Them, as we are told at the beginning, is based on actual events and, rather surprisingly considering we live in the ‘torture porn’ era of horror filmmaking, the film contains almost no blood.
French couple Clementine (Olivia Bonamy) and Lucas (Michael Cohen) have recently relocated to Romania to begin a new life. Clementine is a French-language teacher, and Lucas, when not playing computer games on his laptop, is a stay at home writer. They are a normal couple living a normal existence in their large country house on the outskirts of Bucharest.
One evening at home, the couple hear strange noises from outside their home, and before they know it they are suddenly faced by an unseen force terrorising their home. The two try desperately to escape their tormentors, which leads them into the nearby woods where a fight for survival ensues…
If all this sounds a tad simple and familiar, it’s because it is. Them will never win an award for originality - home invasion films have been around for quite some time - however, a number of factors help to make the film at least succeed in being genuinely tense, and, at times, downright scary.
One of those factors, or two as the case is here, are the directors, David Moreau and Xavier Palud. They clearly know how to create and wring every ounce of tension from their screenplay, making sure that no palms are left dry. They set the tone early, with an opening scene that will have you watching behind your fingers. Their handheld shooting style creates a realistic and edgy atmosphere often making the tension unbearable, particularly during one scene in which our heroine hides from her tormentor in an upstairs hideaway filled with plastic sheets hanging from the ceiling.
The fantastic use of sound effects, from a genuinely unsettling rattling sound (which is explained in the final scene) to the simple sounds of rain falling, televisions blaring and a telephone ringing, contribute perfectly to the overall sense of impending doom.
Both lead actors are believable and suitably shaken in their roles, essential as they are the only two onscreen for the majority of the film. Running scared for the most part, they commit fully. It’s a shame then that the film refuses to tell us much about them. With the exception of a brief dinner scene, and some light-hearted conversations early on, we are given very little reason to care about their predicament, or the eventual outcome.
Once the resolution arrives, and we see clearly for the first time what our protagonists have been facing, it’s a bit of a letdown, but, on reflection, perhaps one that is more plausible than wild imaginations can muster. It’s also an ending that refuses to sugar coat, to admirable and shocking effect.
What really lets Them down is how bare the film feels. At just 77 minutes long, and with a very simple premise, the film teeters on being too simplistic for its own good. Perhaps this is justified by its ‘real events’ claim, but you can’t escape the feeling that there’s not enough substance.
Those looking for a strong story and proper character development will be left feeling a little short changed. Horror fans who revel in being on the edge of their seat will be more than satisfied, however. GY
